PicassoMalaga 1881 - Mougins 1973
Articles
"Genius" is derided nowadays in academia but, if there is no such thing, how did a 13-year old Picasso know what art historians never have?
Picasso’s A Gentleman Greeting a Lady (1894-5)
Picasso kills a bull with his own paintbrush while indicating his divinity.
Picasso’s Bullfight Scene (1955)
"Picasso" paints from the other side of the image using a cigarette for a brush
Picasso’s Bust of a Man with a Cigarette (1964)
Two protagonists in one painting must both represent the artist. It's a given in art so it's your job to find out how.
Picasso’s Cat Catching a Bird (1939)
Learn to recognize the letters of Picasso's signature, a key to many of his works
Picasso’s Faun Flutist (1947)
Here is a very obvious example of one artist's identification with another
Picasso’s Female Nude in Profile (1902)
See how Picasso turns one scene into another in ways that have never been seen
Picasso’s Five Figures in a Boat (1909)
See how Picasso understood Manet's meaning, a meaning that still escapes art historians who think and see superficially
Picasso’s Girl Before a Mirror (1932)
When you discover what is underneath Picasso's early Blue Period paintings, the meaning changes...drastically.
Picasso’s Harlequin (1901) and Blue Period
How we know that the young Picasso knew his destiny
Picasso’s Head of Picador with Broken Nose (1903)
Learn how to use double-vision, a critical tool for interpretation
Picasso’s In the Sculptor’s Studio (1963)
Learn how the young Picasso played around with several themes in a relatively simple composition
Picasso’s La Toilette (1906)
Picasso turned the face of a Spanish queen into a townscape by fusing the two
Picasso’s Le Vert-Galant (1943)
Learn how Picasso bases an image on the letters of his signature
Picasso’s Musician, Dancer, Goat and Bird (1959)
Learn about the mystery behind Picasso's name and the importance of artist's names in general
Picasso’s Parade (1917) and His Mysterious Name
See how Picasso uses YO to symbolize a girl and a bull as apsects of himself
Picasso’s Portrait of a Girl and a Bull
See how Picasso in "copying" a portrait changes it into an image of his own thought process
Picasso’s Portrait of Gongora (1947)
Not a particularly successful picture but an excellent learning tool
Picasso’s Portrait of Jacqueline (1965)
What looks like nonsense from Picasso - pregnant men with breasts - make sense if you see it the way Picasso did.
Picasso’s Pregnant Smokers (1903)
There is always more in Picasso than meets the eye
Picasso’s Reclining Nude with Man and Bird (1971)
Never forget the importance of an artist's hand. It can pop up anywhere.
Picasso’s Reclining Nude, Fernande (1906)
How a seated harlequin is so much more than a seated harlequin
Picasso’s Seated Harlequin with Red Background (1905)
Picasso must have learnt early on that great artists often adopt the persona of earlier great artists....
Picasso’s Self-Portrait (late1901)
Genres are an artificial classification of little meaning. For instance, as here, still-life without life would be still-born.
Picasso’s Still-Life with Door, Guitar and Bottles (1916)
Learn how Picasso used swords as "paintbrushes", "etching needles" and other tools of the trade
Picasso’s Swords and Knives
Picasso at his most abstract is still figurative in ways that have never been seen
Picasso’s The Kitchen (1948)
Yet more evidence that the adolescent Picasso understood the self-referential paradigm of art
Picasso’s The Last Bull (1892)
Learn how Picasso used another artist's name to represent his own identification with the great masters of the past
Picasso’s Three Actors (1933)
Hear how Karen Kleinfelder interprets Picasso's scene
Picasso’s Untitled Plate 58 from Suite 156 (1971)
Just like Michelangelo's, Picasso's women are masculine too....here's how and why.
Picasso’s Woman in an Armchair (1948)
Ignore the title of a painting; they can lead you far astray
Picasso’s Woman with Clasped Hands (1907)
Don't accept your first understanding of a line. Think again; because artists do before drawing it.
Picasso’s Women on the Beach (1947)
See how Picasso writes his own identity over someone else's face
Picasso’s YO’s in Piero Crommelynck (1966-71)
Have you ever wondered why so many still-lifes have an open drawer under the table-top?
The Open-Drawer Question
EPPH Blog Posts on Picasso
Essay PDFs
Galleries
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